Album Mastered by Patricia Sullivan at Bernie Grundman MasteringExecutive in Charge of Music for Warner Bros. Pictures: Paul BroucekExecutive in Charge of WaterTower Music: Jason LinnMusic Business Affairs Executive: Lisa Margolis

Write your own comment here (in english please)
This zone is only to post comment, not to ask for CD downloading, copying or trading !Each comment can be possibly edited or deleted to ensure it is suitable for public presentation.

Any news if Balfe is helping on Bladerunner ????? What he did on Ghost in The Shell was like a modern Vangeles .

Your name :

Please enter number: 1576

Michael

2017-08-03 05:16:17

Have to agree with you because even though the film wasn't the best the soundtrack created another legal of what Vangelis would create . Was. It a fan of Balfe before but this showed a more interesting side to his style

Mephariel

2017-08-03 06:45:16

It is curious that he chose Wallfisch. Maybe the score won't be as synth dominant as we thought? You would think he would go straight for Andrew Kawczynski (I am so glad he didn't).

Well, that are great news. Since I knew from this movie, I was expecting Zimmer, Balfe or someone similar to them yo score this. Johansson was the obvious choice because of his usual collaborations wish Tje director but I think thrir collaboration will be great.

Ahmad

2017-07-30 13:32:28

I was already excited to see BR2049 and hear what JJ did with it, now I'm BEYOND excited. JJ & Zimmer? Awesome.

Andrew

2017-07-30 15:05:08

The Ghost in the Shell score was amazing . It was very Vangelis but more modern . Hope Zimmer does something like this .

Bill Koufo

2017-07-30 20:10:32

Is Hans going to get a composer credit for BR, or just Additional music?

James

2017-07-30 20:56:16

Good question. It's hard to imagine how much work he could produce in those 10 days.I suppose he will be credited as co-composer, as in the TV series in which he does just the main theme.

Hedon

2017-07-30 22:47:04

He has enough composers to compose a full score in 10 days if they need it. Back in the old days Hans did a full score pretty much himself in a couple of weeks, with 90's digital equipment.

James

2017-07-31 01:00:45

In this case, these are just a few cues.

Paters

2017-07-31 03:22:28

The Ghost in the Shell was very Vangelis but with orchestral elements . Worked very successfully .

Mike78

2017-08-01 02:15:38

Very true about Ghost sounding vangeles but the orchestra was stunning and brought life to the electronic score - wish they would release the soundtrack now

Saurabh

2017-08-01 04:04:41

I think Wallfisch will handle the bulk of the duties here with Hans overseeing the production with little actual contribution. Wallfisch has tremendous talent when it comes to orchestral works but I'm not aware of his electronic chops.

Waymann

2017-08-01 09:03:52

In my opinion Wallfisch delivered the best score of the year so far from RCP. A Cure For Wellness is a fantastic score and him working on Blade Runner 2 sounds promising.

MrZimmerFan

2017-08-01 10:00:54

You forget the next Friday is releasing his next score: Annabelle 2 and for September, IT

Waymann

2017-08-01 10:26:59

Didn't know he was going to do Annabelle 2. Not a big fan of horror scores though but we'll see what he comes up with. Movie gets great reviews so hopefully this will be something.

Waymann

2017-08-01 10:31:57

I also just found out that Wallfisch did 2 of my favorite cues on the Atonement soundtrack. Elegy for Dunkirk and Denouement. Funny he worked on Dunkirk and did music for that masterful long take in Atonement at the Dunkirk Beach.

isildur

2017-08-01 11:36:42

@Saurabh I don't think it's exactly true. Hans' Rollingstones interview mentions he is working in the nights while he's touring.

James

2017-08-01 16:22:36

@Waymann

Marianelli composed these tracks. Wallfisch was one of the orchestrators and conductors.

James

2017-08-01 16:27:00

@Isildur

He says he worked during the break between presentations in Europe and the United States.In another May interview he said composing on the bus, but I believe he was talking about Dunkirk.

Waymann

2017-08-01 16:27:59

Yeah, just read it too when I dove a little bit deeper into that score. But still a small connection to Dunkirk ;)

Mike

2017-08-01 17:08:53

I wouldn't say Cure was the best score !!!!! Balfe and Zimmer's score to Genius was ..... GENIUS !!!!

isildur

2017-08-01 18:47:02

@James. Yes I remember. But that was while touring the EU. This Rollingstones interview was very recent when he came back to US for his tour and he also said "My lawyers told me not to talk about it". It's not like he can't talk about Dunkirk now. That just leaves BR2049.

Mike (OTM)

2017-08-01 19:41:29

Hans once said during a Reddit AMA that, if he could score one movie that another composer got to first, it would have been Blade Runner. He also said he loves what Vangelis did. So this should be interesting indeed.

Waymann

2017-08-02 08:48:41

@Mike Nah, i'm probably the only one here but I didn't think much of the Genius score...

"His own break wasn't much of one. He says he went back and worked on a soundtrack until 2 a.m. every night. (As for which movie: "My lawyer actually said to me, 'You know when you sign these non-disclosure agreements, this one, please take it seriously and don't even tell your family.'")"

What movie do you guys think he is working on? Can't be Blue Planet II since we know about that. And can't be Dunkirk.

Your name :

Please enter number: 1576

Ahmad

2017-07-28 18:17:29

I have a guess in my head but I'm still doubting it... Clue: RH.

James

2017-07-28 19:09:53

RH = Ron Howard?I do not think so.He has never been involved with SW before. And JP does not need it.Warner maybe(Justice League).Or some future project.

Dragonseeker

2017-07-28 19:27:18

RH stands for Ron Howard? The only score that makes sense was Han Solo but John Powell is scoring that.

Ahmad

2017-07-28 21:12:35

Oh! I didn't know about John Powell's involvement. That debunks the theory. Well, he was done with Dunkirk before he went on the European leg of the tour. Justice League is in the hands on Elfman. I don't know. Is there a big movie coming up that requires this secrecy?

Ahmad

2017-07-28 21:14:04

*hands of Elfman

James

2017-07-29 03:14:08

The next Bond movie of 2019? ^^

James

2017-07-29 03:15:35

Or maybe a little project.

Lynk

2017-07-29 07:06:32

What known upcoming films could be considered important enough to warrant a NDA clause in a contract...

If it is something that requires the composer to work until 2am straight after a concert everyday then I reckon it must be something with a very tight schedule. Likely a 2017 title.

Blade Runner 2049 and Geostorm could be candidates here - assuming he is still not willing to do another superhero flick.

Han Solo can only become a JP/HZ collaboration at worst. No way is Hans letting his friend out of this one; especially not after the big announcement.

Johann composed the main theme…but given the scale of the task, Benjamin Wallfisch and Hans Zimmer joined the team to help Johann. We have Johann's breathtaking atmospheric sounds, but I needed other things also, and Hans helped us.

isildur

2017-07-29 21:05:42

Thanks.

Hedon

2017-07-29 21:22:04

Yes, they needed Hans' broad expertise on synthesizers and electronics to create a proper soundscape and someone who could actually create a theme. Apart from Vangelis, Zimmer would be the obvious choice. It bothers me they didn't hire him from the start, imagine what he and his team of electronic score artists could have done with this.

Actually I would have liked to see a collaboration between Harry Gregson-Williams and Zimmer for this one. In The Martian, HGW proved he could make Vangelis like sounds and melody. I'm not sure how skilled Wallfish is in the world of electronic music, but for the orchestral parts he would be suited. I would like to see Matthew Margeson on board as well for additional music. Even Andrew Kawczynski as solo composer would have been a better choice than Johansson for this movie.

0-cool

2017-07-29 22:01:56

So with Wallfisch also being involved it means that it won't be all electronic? Or is Wallfisch adept in synth?

Mpolonest123

2017-07-29 23:32:05

So glad to hear this! I honestly think Wallfisch is the next Lorne Balfe in terms of increasing popularity (and he's just as talented). I wonder if this was a result of the focus groups? Johann Johannsson isn't a bad composer but I can't see him doing a convincing BR score.

I wouldn't say Ben is the next Lorne Balfe !!! Balfe's writes amazing melodies and has a unique style . Original like Powell etc . Hope he is working on Blade Runner especially after watching Ghost in The Shell.

James

2017-07-29 23:52:45

These are sad news.Means that none of the three composers will be 100% invested in the project.

James

2017-07-29 23:56:37

@Andrew

Ben is a composer undoubtedly better than Balfe, but I think he did not refer to the quality of the your work body, but to his constant collaborations in Zimmer's recent projects.

mpolonest123

2017-07-30 00:07:51

Never said he was more talented than Balfe, but he's definitely someone with a great sense of writing themes and style. Just listen to A Cure for Wellness or any of his collabs with Zimmer. Obviously he doesn't sound like Balfe, just like Zanelli doesn't sound like Djawadi.

James

2017-07-30 00:38:54

Yes. You did not say, I did.

--------------------------------------------

What @Andrew understood

"I wouldn't say Ben is the next Lorne Balfe !!! Balfe's writes amazing melodies and has a unique style."

He compared the two showing preference to Balfe. I responded showing preference to Wallsfish and explained that the your quote there referred to the fact that Wallsfisch is always putting together with Zimmer's recents works as Lorne did/does.

------------------------------------------------------------

"Wallfisch is the next Lorne Balfe in terms of increasing popularity"

Wallfisch was already internationally known before even collaborating with Zimmer. This is a fact.

Miguel

2017-07-30 00:58:00

Hope Balfe is working on this with Zimmer because if they have the same electronic sounds as Ghost in the Shell then it will be amazing .

Mikel

2017-07-30 01:01:22

Have to agree that Balfe's music is definatly much better . Assassins Creed and Call of Duty will always be high on my list of soundtracks

Anton

2017-07-30 01:31:53

Asssassins Creed Washington was one of the best game scores ever

mpolonest123

2017-07-30 03:43:26

@James I know, I was just clarifying that I don't necessarily want to compare one to another. And Wallfish was known before but it seems that he is starting to get more individual high-profile projects now. Really excited to hear what he is going to do for "It".

Back on topic, I really am glad Zimmer is on board for this project. Considering one of his big inspirations was Vangelis it makes perfect sense.

When I listened to this for the first time, I remembered the difference between Gravity score(by Steven Price) and Interstellar score(by Hans).It's a personal opinion, but I think there is a difference between this score and Fury(again by Steven Price) which is similar to what I mentioned earlier.

it's too exciting for me. The way that each composer looks at things and finally an extraordinary artwork appears.

Your name :

Please enter number: 1576

Catastrophic Jones

2017-07-29 03:04:36

Not to mention Interstellar has the same number of tracks as gravity, and the same duration (maybe off by a minute) very interesting indeed...

This comment from Hans is enlightening (and it encourages me, because it indicates that, despite his recent output, he's not so far gone):

"Can I say something rude? This score is Chris Nolan’s score. This movie is one man’s vision. It doesn’t matter if it was Elgar, or Hans Zimmer, or Ben Wallfisch — there was not a moment where I would move my hand where I wouldn’t feel Chris’s hand on my hand, reaching for the notes. This was the closest collaboration that I ever had with a director where even though he would never ever play a note, he somehow played every note that was in that score."

1- The album is pretty good. It's definitely not as bad as I thought it was, even though there are some stuff missing. I personally enjoy listening to it on its own.2- The prologue music is NOT in the movie. 3- The cue that starts as they carry the stretcher is a variation of Supermarine (the first 3 minutes melody-wise)4- I knew that drum break in Supermarine at 5:30 is too good to be in the movie. (Maybe it is, I'll pay more attention next time I see the movie again)5- I love how they incorporated Elgar's theme in a very dark and twisted way throughout the score then introduced it in a very uplifting way. I got goosebumps.

To me personally, it would've been a perfect release if they had included the music from the prologue on the album.

Your name :

Please enter number: 1576

...

2017-07-27 17:17:46

What is the prologue that you refer to? I remember the opening of the movie having the first part of the Mole playing.

Ahmad

2017-07-27 18:52:40

There was a 5 minute prologue (it was more like a montage than a prologue) It was attached to IMAX screenings of Rogue One and Kong: Skull Island.

...

2017-07-27 19:09:10

All right now I understand... How was the prologue music?

Ahmad

2017-07-27 19:56:47

The prologue music builds on the music from the very first teaser with lots of rhythmic variations. It has a very ominous sounding hum in the background and some sounds that are very hard to describe but are very addictive. Also, the tempo changes throughout the prologue. A lot of people disagree with me (some think it's nothing special) but I think the track should've been released.

badbu

2017-07-28 08:03:30

Many Cues are "Film Versions"...so let's hope for the FYC Score :-)

Guitwo

2017-07-28 15:41:32

According to Nolan, to get the very best version of the soundtrack you need to rip the music out of the film entirely.As the music runs throughout the movie without stopping up until the very last moment of the movie then goes back in.

babdu

2017-07-28 15:56:44

yeah i know...-> isolated Score (DVD Release) :P

Ahmad

2017-07-28 17:42:19

I wish they would include an isolated score track on Blu-ray but don't put your hopes too high. We'll probably end up with extracts that include sound effects. I hope they include the prologue on BD tho (since it's not an actual sequence from the film). It's 5 minutes of brilliance.

I hear Andrew Kawczynskis voice (Chappie-ish sounds and rhythms) all over this. Sounds to me he was heavily involved with the crafting of this score. I am surprised to not see his name on the track credits here. I assume this will change later on when/if the complete score gets released.

Also certain sounds and parts are very reminiscent of Steve Jabolonsky's "Heed our warning" from Transformers:Revenge of The Fallen. In addition both the opening of We Need Our Army Back and Shivering Soldier has enough in common with Stay and Fight from Transformers:The Last Knight that would make me think Steve was involved with this score.

The Elgar variations are incredibly beautiful and very well done. The rhythmic synth bass underneath it sounds very Zimmerish. Especially during the start of End Titles. Is this Zimmers construct, or Balfe?

Divisive opinion:I honestly wasn't crazy about the film. It wasn't bad, and the score was very appropriate, but I felt they could have done something different to not just be visually engaging, but emotionally engaging. Maybe I'm crazy, I'm seeing it again today, but that's my initial reaction.

Your name :

Please enter number: 1576

Adam

2017-07-21 15:07:07

It probably felt less emotionally engaging because we've been fed with emotions like friendships, love, joy or sorrow in most of the films. Dunkirk was emotionally engaging with emotions like fear of death, longing to go home. Hope this gives you another perspective

Bolidzar

2017-07-21 21:14:17

I agree. This to me was Nolan's Revenant. Good looking cinematography, but almost no story and zero emotional connection to anything happening. I disagree with Adam. It doesn't drudge up negative feelings either because, unless you have an explicit connection to the Battle of Dunkirk, it doesn't try to give anything meaning. The film was everything I feared when I saw the trailer, boring and limited in depth. As I was leaving I heard someone describe as a documentary, but I wouldn't even call it that. It is like an art film, definitely not for everyone. I'd probably call it a historical recreation on film.

As for the "music". It definitely fit the "movie" in that it hardly was the fundamental thing it is described as. Mostly droning noise, air, or ticking. Not for everyone and not really listenable either.

Overall this felt like a pop-avant garde project. Maybe Dunkirk is something extremely culturally relevant in England? Like still present in the vernacular? I don't know but this movie fails to take add anything to the human experience. It does not transcend its basic scenario and title. Dunkirk. That is it.

Meta

2017-07-22 03:26:50

I have to agree on the soundtrack being mostly unlistenable...

This is nothing like Inception, or even Interstellar.

I seriously doubt there's going to be a big stink made about any track from this score the likes of "No Time For Caution" back in 14...

I tried...I tried real hard to find something to keep me interested in this score, but I personally couldn't find anything. Most of it is tension building noise. I'm sure it's great within the film, but outside the film? Not so much.

I guess Zimmer is on "retirement mode" now...He's slowing down and not wanting to produce the rockin stuff that he used to...I can't blame him, but still...This score sounds like a total experiment.

meta

2017-07-23 07:10:46

Found one of the main themes.....

Sounds pretty much like the rising music in Pirates 2 when the Kraken shows up to eat Jack Sparrow....

Ruth

2017-07-23 17:11:05

This was one of the most emotionally engaging movies I have ever seen. I suspect it has to do with the fact that my father was a WW II vet who was on a ship going through the Straits of Gibraltar when they were bombarded by German airplanes. The selection of Elgar's Nimrod was a stroke of genius. It rises and falls like the ocean, like a wheezy organ. I wept. This movie is a tribute to the Everyman who did his or her part. We need to be reminded.

Jazzy

2017-07-25 01:09:53

Bolidzar

Jazzy

2017-07-25 01:11:44

'The film was everything I feared when I saw the trailer, boring and limited in depth.' -spoken like a faceless Nazi

Bolidzar

2017-07-27 20:43:14

@jazzy -- natürlich. Any criticism must mean I am a Nazi. Spoken like a modern U.S. Democrat.

,

2017-07-28 03:01:53

Which US democrats call people "nazis"? This victim culture is embarrassing.

Think back to Pirates 2. The scene where Jack thinks he has the Heart of Davey Jones and he's on the ship getting the hell out of there. Suddenly, Davey Jones ship rises up from the water to block them...You hear a rising tune....

It's the exact same tune used for Supermarine/Dunkirk...

Meh.

Your name :

Please enter number: 1576

badbu

2017-07-26 14:19:45

Backdraft -> Gladiator -> POTC...everything is similar

bro

2017-07-27 09:52:17

The orchestral intro to "it's on again" (also outro of "You're that spider guy", just not with the percussion from TASM2) was re-used all over the Dunkirk score as well. The bass line for it is pretty obviously or very similarly re-purposed in a few places.

Saw the film again last night and there are a ton of great cues missing, especially from the first half of the film. It's a crime the cue when they carry the stretcher onto the ship wasn't included.

Your name :

Please enter number: 1576

Waymann

2017-07-22 20:06:25

Yeah, was also looking for that track.

Gotham Rogue

2017-07-22 20:56:33

That was one of my favorites, wish it was on the OST.

Medigo

2017-07-23 20:54:22

I'd also like that chilling piece from when the ship sinks

other than that, not that much I desire

Mortifer V.

2017-07-23 23:08:22

I wanted that track as well!!! recording sessions when :'(

Samuel Jacob

2017-07-24 08:02:10

I vote for that song as well! Violin Staccato slowly going in and out of tune! Love it.

Waymann

2017-07-25 11:27:11

No "No Time For Caution" scenario for this piece of music ? ;)

badbu

2017-07-25 11:31:57

hahaha :D so fu*** up... :D

Andreas

2017-07-25 11:49:41

The score is one of Zimmer's most amazing ever. There may not be big melodies but in context to the film, it is a masterpiece . Obvious to hear Balfes contributions also.

Guitwo

2017-07-25 14:42:57

there is one stressful cue when in a place tom hardy attacks for the first time and it's going louder and louder, faster and faster. like we follow his heart's pace and adrenaline. it's like a big maelstrom

nolzim

2017-07-25 19:21:05

OH MY GOD!!! the movie was AMAZING!!! But so many Cues are missing :((((

Fil

2017-07-26 10:17:47

I hope that recording sessions will be released...i'm little disappointed, that some tracks are missing and some of them sounds very differently than in the movie..

I Love Hans' stuff but this score didn't really do it for me. I don't see how people are repping this as Oscar worthy but trash something like CHAPPiEs score, something with actual emotion and melodies.

Your name :

Please enter number: 1576

Ds

2017-07-22 17:45:46

The answer is: Christopher Nolan ;-)

Mephariel

2017-07-22 19:39:36

I don't think emotion and melodies = Oscar worthy. Dunkirk's score fits in with the movie far better than Chappie.

Boldizar

2017-07-24 06:04:40

To me an award winning score should both fit with and purposefully amplify the film and be something you want to hear. Dunkirk fits well theoretically, but it isn't enjoyable to hear. Interstellar did both and that lost.

Mephariel

2017-07-24 07:03:38

I don't think that makes sense though. Why should an artist have to go against the director and compromise the music of a film just to win an award? The best original score should be judged based on how well it serve the film and nothing more. Or else no body will want to score a political thriller.

Are the above credits with only Hans complete or not? If they are, then it's interesting how much of this album is just Zimmer. Even if it is an exercise in musical intensity more than anything else. I have to yet to see the film, but the score isn't as bad as I was worried it would be. In fact, most of it's just fine, and I look forward to hearing it with the film. It certainly does raise the pulse when you listen to it. It's like dread in musical form.

"British people are raised on the story of Dunkirk. The events of the evacuation are sacred ground, not to be ventured onto without great care. Daunting for a filmmaker. But the things that place Dunkirk so firmly at the heart of a nation's self-image are the very qualities that make it one of the greatest stories in human history. Irresistible to a filmmaker.

This film required a remarkable creative team, and Hans Zimmer, as well as having been a valued member in the past, knows how to assemble his own great team. From our first meeting, where I described to the percussionist, Satnam Ramgotra, the unusual rhythmic structure of the script and how it needed to be amplified by the music, through the finishing touches applied by Lorne Balfe during our last weeks of mixing, the importance of teamwork was paramount. The process nicely echoed the circumstances of the events we were trying to honour- a triumph of communal effort, not individual heroism.

When I called Hans one night with a one word suggestion- "Nimrod", I wasn't sure he'd accept experimenting with an existing theme for the climax of the film. To my surprise, he knew just who to call to achieve the deconstruction of Elgar's monumental theme, a theme as beloved to the English as Dunkirk itself, often played at ceremonial occasions and funerals. It's a theme which (I never admitted to Hans) I am incapable of hearing without feeling the surprising weight of my father's coffin on my shoulder. Hans brought in Benjamin Wallfisch, who, in collaboration with the great music editor Alex Gibson and myself, fashioned a modern reworking that grows out of the sights and sounds of the movie- tapping the original's resonances without feeling unearned. Hans's brass accents complete the piece's power to move without sentimentalizing.

Hans went on to incorporate Elgar's theme elsewhere in the score, a score that on this album has been divided into cues, but which in the film plays as one long piece with a unifying and complex rhythmic and tonal structure. The structure of the screenplay itself builds upon the shepherd tone concepts I first explored with composer David Julyan in the soundtrack for "The Prestige", but here Zimmer's team (in particular Andy Page and Andrew Kawczynski) and I added a whole new rhythmical structure. This can't be fully represented on the album, but in the film it is able to integrate sound effects and even story structure into the very fabric of the music in a new and unique manner.

The rigid structure, to which we adamntly stuck, at times proved frustrating for the musicians, but they persevered and produced extraordinary cues based on unusual solutions (such as a recording of my watch that Hans and his team adapted into many different rhythmic voices). The disciplined procedural approach stopped the music for "Dunkirk" from ever resorting to arbitrary cinematic emotionalism, something Hans and I always felt was vital, given the inherent emotional heft of the real life events. This has been a long and hard journey, but I am proud of the final results, and hope that you will share my appreciation for the talent of the artists who worked so hard for so long on this score.

CHRISTOPHER NOLAN

Your name :

Please enter number: 1576

Mike (OTM)

2017-07-22 21:00:33

My one hope is that this doesn't mean Chris Nolan will be tying Zimmer's hands behind his back for future scores. If he wants to do that here, okay. I can get over one score. But I hope Nolan doesn't keep calling for this non-melodic approach.

Will

2017-07-23 10:49:33

What? Mike, this is definitely inherent to the Zimmer/Nolan relationship and to Nolan's absurd soundtrack direction. Two-note Batman theme ring a bell? Nolan hasn't just been tying Zimmer's hands behind his back. He's unwittingly brainwashed him and, subsequently, most of Zimmer's remote control production minions into thinking the way forward for soundtracks is in non-melodic, non-developing constructs.

Guitwo

2017-07-23 17:12:36

@Mike Hans himself said sometimes a movie does not need a melody theme. It depends on the movie and the characters in it.the main character here is fear threat and so on... in that regards the score respects that.

@hybrid: in order to have the full soundtrack we will then have to wait for bluray and rip the music & effect out of it. ^^

Mike (OTM)

2017-07-23 18:15:11

Okay, point taken, but at least his previous scores for Nolan were obviously music and had an emotional presence. And the two note Batman theme was actually something Hans had to convince Nolan about. Nolan wanted this heroic theme that was left unused.

Is the score a good representation of the movie? Or do we have another score which misses the best music from the movie like 'Escape from ship' or 'No time for caution'.

Your name :

Please enter number: 1576

Laurens

2017-07-23 13:51:55

I’m going to see the movie again on Tuesday, but after the first viewing I would say yes and no. The cues on the album are mostly in chronological order (towards the end at least) and I would say ‘Home’, ‘The Oil’, ‘Variation 15’ and ‘End Titles’ play basically unchanged in the movie. However, in my experience the ticking sound is much more present throughout the entire movie and speeds up and slows down during tense moments. On the top of my head, there is not a cue that played in the film that stood out for not being on the album, except for the one when Tommy and Gibson are racing the stretcher across the beach. It’s the staccato violin or cello cue. I don’t know what kind of cue was composed for the prologue since I haven’t seen it, but judging from the comments here that cue is missing as well.

Does anyone know whether the cd version actually has the cues crossfading into each other? Since in the film the score plays almost as an entire cue, it would have made sense if they did that. It sounds like some cues in the digital version end kind of awkwardly, like 'Impulse' and 'Home'. These cues fade out while there still seems to be some instrumentation progression going on. Hence the crossfade thought...

Your name :

Please enter number: 1576

Martin

2017-07-22 14:14:00

This soundtrack will win an oscar . It's great to see Balfe back with Zimmer. Dream team

Nerdboy2013

2017-07-22 17:09:16

It doesn't crossfade as much as, say, The Dark Knight Rises or Inception, but there is very rarely dead air. I haven't listened enough times to determine when it does and doesn't crossfade, but the tracks are, at least, very closely edited together.

Hi everyone, does anyone know the name of the music in the Dunkirk Trailer 1 at 01:30? It doesn't not seem to be in the score, I'm assuming it's not in the movie, I'm going to see it Sunday. If anyone knows the music or where to find it, please Comment, thanks!

Each time I listen to "The Oil," I'm convinced it can't get any louder and larger, but it does. If you don't look at the track time, you're just constantly thinking it's about to end, and yet it somehow continues to up the ante until you almost can't handle anymore!